Alexandre Bilodeau

Né en 1984, Alexandre Bilodeau produit des fusions musicales électroniques depuis 1998. Il mélange influences hip-hop, techno, dub et ambiences électroniques dans sa musique qu'il classifie de radiophonique futuristique; un son pop pour les années B venir. Il habite en Acadie, le pays oublié des premiers colons français en Amérique du Nord, oj il parle une langue métisse de vieux français et de termes anglophones: "Ej peut driver à l'airport mesque a débarque".

Alexandre est aussi producteur pour le groupe hip-hop/électronique Jacobus et Maleco. Ils ont sorti leur premier disque en 2003 intitulé "La gueule de bois". Il a aussi sorti en 2004 un disque en solo de tech-house paisible et dubby intitulé "Wois-tu ça?". Ce disque est disponible gratuitement sur ACADIEURBAINE.NET.

Ni doué en langue écrite, ni en dessin, Alexandre communique le mieux B travers sa musique. Elle parle d'un futur qui est dPja parmis nous. Un futur oj tout est cyclique, délayé, modifié et accéléré et où la musique électronique est une grosse hamac suspendue par dessus un monde de plus en plus robotique.

http://www.acadieurbaine.net/alexandre
http://www.jacobusetmaleco.com

alexandre@acadieurbaine.net


Born in 1984, Alexandre Bilodeau produces musical fusions since 1998. He mixes electronic, hip-hop , techno, dub and ambient sound influences into his music which he classifies as radiophonic futuristic. A pop sound for the years to come. He lives in Acadie, the forgotten country of the first French colonists in North America, where he speaks a mixed language of old French and anglophone terms: "Ej peut driver à l'airport mesque a débarque".

Alexandre is a also producer for the hip-hop/electronic group Jacobus and Maleco. They released their first disc in 2003 "La gueule de bois". Alexandre also released a solo disc of peaceful and dubby tech-house entitled "Wois-tu ça?" in 2004. This disc is available free on ACADIEURBAINE.NET.

Neither gifted in written language, nor in drawing, Alexandre communicates best through his music which speaks of a future which is already among us. A future where all is cyclic, rhythmic, looped, modified and accelerated and where electronic music is large a hammock suspended over an increasingly robot-like world.

http://www.acadieurbaine.net/alexandre
http://www.jacobusetmaleco.com

alexandre@acadieurbaine.net

POLYGON RELEASE: Bonze Deluxe EP

Deemah

Dmitry Meshcheryakov is a Halifax electronic musician who immigrated to Canada from Russia in 2000. After several years performing in rock bands, he moved to Moscow and formed the DSM Formation (previously Devil Stone Medicine), whose album "Medved Malun" was released on Cosmos Productions and received acclaim from Moscow music critics. In 2000, he moved to Halifax, Nova Scotia, where he's been producing music for both the head nodders and the booty shakers ever since. These days he's getting attention as a skilled house producer, and has just been signed to Toronto's Slush Records with a three 12" album deal. His music has also appeared on the Dig Your Roots electronic dance compilation, and has recently won a DJ Dan remix competition.

Errand Boy

Before Errand Boy's internationally acclaimed debut, Touch Fuzzy, Get Dizzy, was released in 2004, bold, unashamed confessions of love and intentions to make out with Errand Boy were rare commodities -- whether from the same sex or otherwise. Suddenly, as if from nowhere -- but, in fact, from the dirt road in Torbay next to Metal World -- arrived a talent that was simultaneously modest but mighty, sass-infused but rigorously intelligent. Critics and audiences, from London to Tokyo to Toronto to Manuels, declared Errand Boy and creative linchpin Bryan William Melanson a songwriter of rare compositional and overwhelming super-brilliance. "[Touch Fuzzy, Get Dizzy] is one of the most melodically seductive and exhilirating records of recent times," wrote David Bowie in his private diary; R.E.M's Peter Buck and former Blur guitarist Graham Coxon haven't heard it, and they never will because they left some kickass bands and have no place in Bryan's heart... Bryan has recorded music in his bedroom/kitchen for the past 2 years using some programs he didn't pay for.

His follow-up, 2005's Bachelor of Commerce, will consolidate Bryan's reputation as a writer who, seemingly without effort, subverted the conventions of the love song, creating miniature electronic epics that cost a shoestring but sounded as if they were spun from gold. Comparisons to The Flaming Lips, The Magnetic Fields' Stephin Merritt and fellow Canadian Leonard Cohen make no sense, but nobody's said anything like that so this sentence is kind of a waste of your time.

Comfortingly familiar and yet a quantum leap beyond its predecessor, Bachelor of Commerce bears all the hallmarks of Russian Futurists Errand Boy recordings -- insinuating melodies, ingeniously grand low-budget arrangements, crap about loves lost and found -- but is fuller, wiser, sadder and giddier than before.

"Bachelor of Commerce was made in the same way as all my sandwiches: in my kitchen," says Bryan. "I've been doing songs long enough to know what works best for me, and doing it in my kitchen with little kids looking over my shoulder every 5 minutes is where it's at. I can avoid having to walk too far when I want some Oreos and i'm free to just make the music I want to make without over-thinking the Oreo retrieval process...."

Bring your hyperbole -- and a box of tissues. Errand Boy is up in that ass.

(99% stolen from the Russian Futurists bio...listen to them, they're better than me)

Read more at www.errand-boy.net.

Windom Earle

Instrumentation
Stephan MacLeod (guitar), Greg Boone (bass), Matt Packman (keyboard)

Biography
Since 1996, Stephan MacLeod has been cutting and pasting beats on his computer into poppy instrumental tracks. To translate his new wave gems into a live show, he enlisted the most energetic performers in the Charlottetown area and started Windom Earle. Every show is full of dancing, good music, and surprises that have been catching audiences off guard for the past couple of years. Now based out of Halifax, NS, Windom Earle has been developing a strong following in the city's indie rock scene. Windom Earle's first release since moving to Halifax, "A Series of Minor Personal Tragedies" has been charting on Dalhousie's campus/community radio station, CKDU for a couple months since it debuted at #1.

Website
www.windomearle.com

Discography
Standard Equipment, The New Technology, The Things I Do For Girls, A Series of Minor Personal Tragedies

All tracks off all of these albums are available here or here.

The Man They Couldn't Kill

Chris Browne, aka The Man They Couldn't Kill, produces artful beats and melodies that tend towards the down-tempo. Obvious influences include the nineties' Bristol scene (Portishead, Massive Attack, Tricky), with its hazy, hypnotic melodies and sparse, crisp beats. Music for the burnt out and the chilling out.

Tokenrove

Julian Squires lives in St. John's and leads a very mysterious life. He finds and fixes old computers in dumpsters, practices feng-shui, and has long hair. Or maybe he doesn't.

Anyway. He makes a mean heavy-prog-metal-influenced chiptune.

He and Retsyn have been known to collaborate, or at least to work on music at the same time.

Televishnu

"Televishnu is sometimes called Craig. Craig lives in Halifax where he enjoys wearing pants and growing his hair.

If an intermittant windshield wiper could make love with an oscillating fan, and after trying for a few months could eventually succeed in conceiving a baby, the first sound that abomination would make after being delivered and held upside-down by its flippers and slapped on its shell by the paper-shredding obstetrician would sound remarkably nothing like this music, actually."

Sleepy Rabbit

"Sleepy Rabbit - The coupled ideas of a shameless sense of the undergrowth and a lush, unseemly world. As the multiple brains that are fused together are triggered by the smells, shapes, and sounds .. the scientists above lose control of their dreams in the terrible sounds that are expelled.

"In my youth I had lofty dreams of making music for the masses and being paid huge sums, like that of the modern day rock stars. Riches and clothing lines were strewn about my daydreams like that of frogs in a suburban mid-park. But then the harsh reality of the matter came crashing in through the skylight of my life and I realised I wouldn't be extremely famous, I wouldn't be able to afford the vast amounts of things I desired to own for the pure sake of owning.

"I stopped making music for a while then .. 6 months I believe, maybe more, a friend of mine would know better than I, he had about 400 songs of mine at one point. But then I realised I could just be happy that people want to listen to these things I was creating from the myriad of samples, scuttles and late-late nights. That's how I came back as Sleepy Rabbit.At first I was just trying to make jazzy stuff, but keyed lower so it all sounded .. tired. The first two attempts weren't all the good. Fun for the time, but ultimately just baby steps. The ends of the first album were like my badly thrown together creations of more human words like 'Bicycle' or 'Genome'. The second album were more like my unknown thought patterns of early years, all leaning towards the left but still a bit jittery because I may fall down very soon.But then the third one came to me.

"It had been a good number of years since I had released the last one, I believe 2-3 years. I had become settled in, not worrying about things, just continuing on and making a meager amount of money so I could keep the people around me happy. I hadn't really even thought that much about music, to tell you the truth, I had made a few songs for people, but nothing with substance .. Your Vandal Hands being a single I was proud of, like a nerdy Highschool student is proud of a model. I was busy with just making monotonous little ditties. Then I noticed something around me. That something was the thing that inspired the song 'Rest'. It just came to me that one night. I was messing with noise and had done far too much in the way of illegal substances, when I happened upon a certain melody I couldn't replicate. Then the object from before came back to me that eve, I played the song again, and finished it that early morning. I was very proud.

"The rest of the album fell in line after that, almost 1/3 songs I made fit into the pattern I was looking for. The album was almost done, only a few more songs to work out. Then it all disappeared. I had nothing left and just sat there. I created a few songs but they were brooding songs, they would never go anywhere even if I had the entire area before them quilted to their perfection. It thought I would have to send out a half-finished album to the masses, and I hated myself even more for that. It hadn't been what I had wanted. Story shortened, I evened out. I came back to the light because it was back around me again. I finished the album and added a touch of sleep to the end. These were my first few moments of being a seven year old.I then set out to make a quick, seductive EP. Nothing wow, nothing of the exact same. A transition between the next year. Now I'm trying to act mature, trying to pay attention more, although realising I am not that exact and it's definitely not as much fun now that I can remember more, and point out more of my failures. The chemicals aren't quite right just yet, they've still got that half-green quarter-blue appearance. But I'm trying my damnedest to not go gentle into that good night."

- Russell

Retsyn

Retsyn - Chip/EBM hybrids, we'll call it. Excellent drum programming.

Inspired by a great emotional attachment to videogames and the unforgettable music therein. He enjoys long walks on the interbeach and romantic, video-lit dinners.

Paranerd

Paranerd -- also known as Paul Goguen -- is an electronic music composer from Moncton, New Brunswick who makes music that is melodic, engaging, and peaceful.

"Hailing from Canada, Paranerd's songs individually reveal themselves like being lost in specific thought. Continuously reflective themes rather than catchy clips with the occasional exclamation point. Unraveling the most vulernable moments. While many electronic musicians utilize repetition and hooks, he has an introverted and personal approach to writing that puts in you a position of wondering where the layers of melody or mood will go next."

- No Error

Oxygenfad

Oxygenfad, also known as William McCloud, is a guy from Moncton, New Brunswick who produces some of the craziest, fastest, heaviest, and most intense electronic music in Atlantic Canada.

His music has had been featured on netlabels and on compilations, including the Polygon Network's Polygon Minute (a compilation containing 48 different one minute tracks by Atlantic Canadian artists.) Soon Oxygenfad will have two vinyl releases on Killbot records, a primarily breakcore-focused label out of Australia, as well as more releases on Polygon Network Records.

More images:

Nonplus

Nonplus, formerly known as DJ Scrawny, also goes by the name Ben Jackson.

He has nothing to do with The Ben Jackson Group, nor this guy, nor this guy.

Nonplus makes some of the best electronic music in Atlantic Canada. His style combines catchy melodies at a high BPM with dense and obsessive drum programming.

Misery

"My goal is to create soundscapes which behave as, or evoke, light. Rendered through symbiosis between Sony's Acid, Fruityloops, Absynth and Propellerhead's Reason, the sounds i create are often directly inspired by my observations of light and shadow in natural and urban enviroments. The shimmering of moonlight through trees, everpresent reflections off glass, the shadows of cars moving by a window; these are the elements of life i wish to illuminate through the medium of abstract electronic sound collage."

- Shane

MISERY.
aka Shane Ballard
Studio located at And Gallery, Agricola St, Halifax N.S.
ballaero@hotmail.com

Boy Makes Music

Gordon Huntley's setup consists of an electric guitar and a series of guitar pedals and effectors. He plays the music live, recording and layering loops with the pedals.

To listen, please play loud and lie down.

"Boy Makes Music is definitely my favorite act so far." - Elling Lien, Dalhousie Gazette contributor, talking about the 9th annual Halifax Experimental Music festival.

Andrew Duke

Andrew Duke has been composing, producing, remixing, and performing music since 1987, plus scoring and sound design for film, television, video, web, theatre, and radio. His music is consistently referred to by the media and listeners alike as continuously presenting a unique and distinct sound.

In 2005, two PSAs he scored for the "Racism: Stop It!" campaign were recognized with national awards. In 2003, he was nominated for Album of the Year (Electronica) at the Canadian Independent Music Awards for his Sprung album (Bip-Hop/France). He has also been commissioned for 55+ remixes (for artists such as Aaliyah, Pink Floyd, Chicks On Speed, Heavy Meadows, and David Kristian), has licensed 125+ tracks to compilations, and regularly tours his live PA. He is also a music software educator and a visual artist whose work has been exhibited internationally.

Quotes:
"Andrew Duke creates music that sounds like it has a reason for living." (The Wire, UK)

"He often seems to be inventing new genres." (Cyclic Defrost, Australia)

"A unique producer with a strong perception and approach of his own to electronic music." (Koert Notario, Courthouse Int'l Audio, The Netherlands)

"Andrew Duke renews my faith in the world of slow-mo techno." (Igloomag/Microview, USA)

"Andrew Duke reinvents himself almost with every release." (All Music Guide, USA)

"Andrew Duke puts his soul into his experimental music." (The Halifax Daily News, Canada)

"The man behind the East Coast electronic music scene, Duke displays a different facet of his skill with every release." (Exclaim, Canada).

Contact info:
Andrew Duke 1096 Queen St #123 Halifax NS Canada B3H 2R9
andrew@andrew-duke.com http://andrew-duke.com

Alex Pearson

Info:
Name: Alex Pearson
Projects (current): Tecx – dub, illbient, dark ambient, noise
With a Movement of Darkness on Darkness – isolationist, electro acoustic, musique concrète
RIYL: Kato Hideki, Justin K. Broadrick, Otomo Yoshihide, Bill Laswell, Set Fire To Flames, Tim Brady.
Location: Halifax N.S. Canada
Record Label / Representation: Sound as Substance / Polygon Network Records

Bio:
Alex Pearson has been a musician for most of his natural life with his roots set firmly in punk. In his younger years, armed with only an acoustic guitar, an electric bass, and minimal skill, he set out to break some eardrums. Thankfully (for himself and many others), it proved early on that this was not going to work.
Shortly after shedding his punk rock skin, Pearson fell out of love with live music and found a new love for electronic music (which he actually grew up listening to, thanks to his parents’ musical tastes in the 80’s). He started to listen to any electronic music he could get his hands on and began to do “fan remixes” of some of his favorite tracks. In early 1997, David Sheppard (a friend of Pearson’s and fellow electronic musician) recorded and released their first album, titled “Sampler”, which sold out within months of its release and enjoyed a bit of radio play on local campus station CFMH. By late ’98, Pearson had fine-tuned his sampling, programming, dj’ing and production abilities and set forth to record the album that would forever change his life. The “Innercityjazzman” was born, and a jazzy, lo-fi, trip-hop opus began its journey. Two years, hundreds of records, and two hard drives later, the album “Welcome To Vacuum Land” was completed. Thanks to relentless self-promotion and an adventurous first pressing of 200 copies, the album climbed a few campus radio charts and garnered national attention on CBC’s “Brave New Waves”. Through a combination of radio play, countless live performances, and generous local media coverage, the album quickly sold out, and a second pressing was made. However, during this time, Pearson became jaded; not only toward the music he had grown to love, but toward his relationship with music in general. He set out on a journey of musical discovery, beginning work on the follow-up album under the name “Tecx”; feeling that innercityjazzman had done everything it could have, he put the name to rest. The new album, entitled “Sound, Exit and Stop”, was much darker and more progressive than his previous projects; as it turned out, the album was just too much for Pearson to work on, especially with his interest in the genre rapidly dwindling. This album has been completed and is now avaialble through Polygone Network Records.
It was during this period of discovery that he discovered a love for the works of electronic artists from the 50’s and 60’s. Their music opened up the world of the avant-garde for him, and with a hunger for free jazz, 20th century composition, musique concrete, electro-acoustic music, post-rock, and noise, he began to further broaden his musical horizons in both listening and performing. It was at this time that he picked up a bass for the first time in almost 4 years; at that point, his destiny was realized. In 2002, Pearson began his true journey to where he currently resides; his Tecx shows became firmly based in soundscape and noise, and live instruments such as bass began to make an appearance as well. Soon, the computer was out of the picture, followed by the keyboards; now all that is left is his bass, his hands, his effects and his imagination (although he still experiments with electronic music currently). In 2003, Pearson recorded “Studies 1 through 5, For Sonic Destruction” with longtime friend and sympathetic guitarist Elijah Kamminga. The album was noise-based and was the first recorded account of Pearson’s new musical direction. Currently, all his energy is being poured into “With a Movement of Darkness on Darkness”; however, he still has time for the occasional side-project (“The Downtown Noise Trio”, “I am the fall of your empire”). “With a Movement…” is an exploration of the limits of the relationship between humans and sound; the music is best described as isolationist, but there is also elements of electro-acoustic and musique concrète.
Originally, the project consisted of Pearson with Elijah Kamminga, but currently it is Pearson with a host of supporting musicians who share the same love for music and art. “With a Movement…” hit the studio in January ’04 and finished in February; the album has just been mastered at Weather Station Audio by Marc Gosselin and should be available to the public in late ’05. He now resides in Halifax Nova Scotia with many of his fellow Polygon Network artists, and is planning a full scaled sonic attack on the cities fair citizens with new projects and concepts.

Discography:

1997:
Sampler – Music for the Deaf (data jockies)

1998:
DJ Tecx – Hiphop instrumentals tape (data jockies)

2001:
innercityjazzman – Welcome To VacuumLand (data jockies / innercityjazz records)
innercityjazzman – Live at Tapps Brew Pup (data jockies)

2002:
Josh 90 – You Really shouldn’t Listen to This (data jockies / brokenbeat.net)
Alex Pearson – Theories in Minimalism (Sound as Substance, polygon network records)
Mental Disorders & Random Acts of Mutilation Compilation – V.A. (lost data recordings)

2003:
Alex Pearson and Elijah Kamminga – Studies 1 through 5, For Sonic Destruction (Sound as Substance)
Alex Pearson – Chaos in computers E.P. (Sound as Substance, polygon network records)
Tecx – Sound Exit and Stop (Sound as Substance)
Alex Pearson – W.S.B. (Sound as Substance, polygon network records)

2004:
Polygon Minute Compilation- V.A. (polygon network records)

2005:
With a Movement of Darkness on Darkness – With a Movement of Darkness on Darkness (Sound as Substance)

Shows: (a few worth mentioning)

2001:
June 13th – innercityjazzman – The Gothic Arches (sj) (Offbeat release party)
Aug. 18th – innercityjazzman / Slight Return (halifax) – Tapps Brew Pup (sj)
Dec. (end of) – O’Leary’s Pup (sj) (for the ecma committee)

2002:
Jan. 31st – Tecx – The Deep End (sj, no case)
Feb. 1st – innercityjazzman / Gary Flannagan / JeTprojecTlabs / Buck 65 – The Deep End (sj, no case)
Feb 3rd – Tecx / A/V (halifax) / Das Radio (fredericton) – The Deep End (sj, no case)
March 15th – Dawgshait Damage – The Waterfront Lounge (sj)
March 23rd – Tecx / Gary Flannagan / Drums and Machines (fredericton) – Electrobash 2 – The Deep End (sj)
June 13th – Alex Pearson and Mark Winchester – Delta Ballroom (sj, NCRC Awards Banquet)

2003:
March 21st – Alex Pearson / The Burdocks (halifax) – Studio 112 (sj)
June 21st – The Downtown Noise Trio / Eight Days Nameless – Studio 121 (sj)
Oct. 27th – Alex Pearson – The Kyber Club (halifax, The project box opening)
Oct. 27th / Nov. 1st – Alex Pearson – The Ceter For Art Tapes (halifax) – “TheProject Box” (sound art installation)

2004:
May 3rd – With a Movement of Darkness on Darkness / MiMiC – Studio 112 (sj)
Dec. 4th – With a Movement of Darkness on Darkness – Saint John Arts Center

Contact:

Mail:
Alex Pearson
5260 Kent st.
Halifax N.S.
B3H 1P6
Canada

E-Mail:
alexpears@gmail.com

Website:
http://www.newmusiccanada.com/genres/artist.cfm?Band_Id=11532

Stokast

Aspirations: Sonic tricksterdom.